" The Extraordinary Journey of The Fakir " ( The Extraordinary Journey of The Fakir ), like "Citizen Kane", tells the story of the poor becoming rich overnight, but Ken Scott obviously has no intention of leading the audience to explore the hero's trauma.
Watching this film is like having a dream—good people will be rewarded, and lovers will eventually be married—but it's just a dream. In terms of narration, the film follows the dramatic model of classic Hollywood movies: a three-act play structure (the first act determines the task, the second act encounters various obstacles in the execution of the task, and the third act completes the task), two story lines (career line) -The male protagonist goes to Paris to find his father; the line of love-the male protagonist falls in love at first sight), full of dramatic plots (such as the unexpected and wonderful journey of the male protagonist: from Paris to London, to Barcelona, and even Libya; there will be flattening in every city The villain clashes with the male protagonist), a happy ending (the male protagonist finally returns to Paris to place his mother's ashes in front of his father's tombstone; the male and female protagonists become lovers). At the same time, the film incorporates the exaggerated character styles of Bollywood movies, exaggerated performances and unreasonable singing and dancing (given that the director is Canadian, it is a speculation that it is designed to meet the audience's stereotypes of Indians) . Whether it is the use of bright and colorful colors and highlights, or exciting or sensational music, the purpose is to fabricate an inspirational fairy tale that "perseverely endures hardships and cultivates a positive result". The commercial logic of the popcorn movie is still the original intention of the film's creator. The entertainment attribute of the movie is still dominant. The bridge section where Aja pretends to be an ascetic and the wonderful journey he has experienced in different cities and countries are all spectacle displays that attract audiences.
Almost all important transitions in the film are coincidences (contingency). The narrative logic that contingency is based on necessity exists and complements it does not exist. The creators simply inform the audience of the theme of "life is full of contingency" through the mouth of Aja. It would be too lazy to hide the loopholes in the narrative logic. The result is that themes such as "poverty", "class differences", and "refugee status" have become simple foils and cannot be digging deeper. Even from the point of view of a commercial film, the lack of creative design in this film is just a sugar-coated cliché, far inferior to the delightful "Mission Impossible 6".
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